This brief survey of the characteristics of the different classes of old enamels will the better enable the collector to confine his attention for the moment to the subject of cloisonné enamels, and in particular to those of China and Japan. Of late years the cloisonné enamels of these countries have been extensively exported, more especially to America. Many of these modern examples are very beautiful, some of them very trashy, and none of them comparable in beauty with early Chinese work, though, from a technical point of view and an individuality of their own, I fancy some of the modern specimens would have made the seventeenth-century enamel-workers of China rub their eyes in wonderment. This great and difficult art is surely one of the glories of Chinese craftsmanship. One might not think that the outlook for collecting these old enamels in America very encouraging. Nevertheless it is a line of collecting that has not been overdone, and genuine old objects are to be found, here and there, by those who know them when they see them. As color is the very soul of enamel, the rich, soft colors of the early Chinese work help to distinguish it. This is especially true of the varied and beautiful blues employed by the Chinese enamelers. Occasionally the Chinese employed both cloisonné and champlevé in the same piece as certain pieces of the Ch’ien Lung period (1736-1796) show. In genuine old pieces it often happens that corrosion has made its appearance around the cloisons. While the early history of Chinese cloisonné is lost to us, we know it to have been in favor in the early fifteenth century, as a vase in the Victoria and Albert Museum attests. Not only for its blues is Chinese cloisonné noted, but it possesses characteristic reds, lilacs, violets, pinks, greens, and orange as well. The Chinese enameler’s palette was medieval in its selection. The blues of turquoise and of lapis lazuli were great favorites likewise. A sang-de-bœuf and a sealing-wax red, opaque in quality, were further employed. In fact, the Chinese enamelers employed the colors of the early European cloisonné workers. Their whites, however, were always inferior and in early work exhibit air-hole pit marks.